Patrick Genet

This film brings together in sequence shots men, animals and plants. It is an inventory of the cohabitation of living beings. Man's awareness of being alive among other living beings is diminishing. Gradually, we stopped considering animals and plants as truly alive. These cinematographic haiku tell the story of two snails crossing a road, a baby and a physiotherapist, two ripening tomatoes, a cow, a crying body, field flowers and cities.

A young woman tries to understand the real circumstances of the death of her mother.

Un equipo de antropólogos forenses que trata de identificar tres cadáveres que pueden corresponder a miembros de la familia Manfil recurre a diversos testimonios de sobrevivientes de esa familia.

Readings. Heinrich von Kleist / Robert Walser. Contiguous. They talk about imagination. Walser imagines Kleist, Kleist nobody, but Penthesilea. In the new desert islands that are the enclaves of flowers of the city. Roses of sidewalks. Wild spaces with anonymity, truncated and without paths, in the banal stones of any career, inscribe and break the voices of an abrupt literary, hermetic and arid fragments in the image of places, almost no of place. Images figures of writing. In the blind corner. Without access. Very few signs.

The voices say a story. forget it. Of what time. And who speaks. Both of them. One or the other. later. Others may be. Of chance. Which would cross in this narrative. When. The times have intermingled. The winds meet. History. Pictures. The summer. Humble vacancy with furtive foliage. Fragile memory. Light is a trace of forgetfulness.

The voices say a story. forget it. Of what time. And who speaks. Both of them. One or the other. later. Others may be. Of chance. Which would cross in this narrative. When. The times have intermingled. The winds meet. History. Pictures. The summer. Humble vacancy with furtive foliage. Fragile memory. Light is a trace of forgetfulness.

On the one hand: A frame - and then windows in the frame - Spiked - from one to the other - Images designated - fenced, inside / out. Every moment broken - repeated. Always past. One after the other. Cruelty of the open boundary itself - and immediately some untimely object comes up against it - clog the sight - obliterate the frame. On the other hand: The note pursues an eternal moment. It's his game, run the frame, draw the embrasure, and so on. (...) she passes. Immediately in it she plays with nothing. Immediately outside she finds.

On the one hand: A frame - and then windows in the frame - Spiked - from one to the other - Images designated - fenced, inside / out. Every moment broken - repeated. Always past. One after the other. Cruelty of the open boundary itself - and immediately some untimely object comes up against it - clog the sight - obliterate the frame. On the other hand: The note pursues an eternal moment. It's his game, run the frame, draw the embrasure, and so on. (...) she passes. Immediately in it she plays with nothing. Immediately outside she finds.

Brise-glace está compuesta de tres partes originales filmadas durante los viajes del barco rompe hielos Frej, de la marina sueca, en Marzo de 1986.

On the occasion of the bicentenary of the French Revolution, a group of Haitians in Paris undertake a voodoo ritual in front of Les Invalides, to reconcile the spirits of Napoleon Bonaparte and Toussaint L’Overture, the Haitian revolutionary who died as a prisoner of the French Emperor.

A short film from 1990 by director Christine Carrière

More young cinephiles in part two of Skorecki's three part film.

"Readings. A place. Purity of lines. Fine angles. Dominance of whites and blues. Fragility of tapered glasses." A visual evocation of the writing of Katherine Mansfield.

"Readings. A place. Purity of lines. Fine angles. Dominance of whites and blues. Fragility of tapered glasses." A visual evocation of the writing of Katherine Mansfield.

First part of the collaborative project "Brise-Glace" showing the diverse travels on the icebreaker "Frej". Directed by Jean Rouch.

Landscapes. A utilitarian nature. Contemporary. Cruel images. Changing. Seasons. The watch could be eternal. Each image transparent and non-avenue. Only the sound volumes will unfold an obscure duration.

Landscapes. A utilitarian nature. Contemporary. Cruel images. Changing. Seasons. The watch could be eternal. Each image transparent and non-avenue. Only the sound volumes will unfold an obscure duration.

A month in the country. In summer, a group of friends rent a house in southern France. People come and go, making their way through chickens, dogs and cats. Playful sounds and a wacky collage of music make up the soundtrack.

An unknown writer written under the pseudonym of Laure at the beginning of the century. Readings. Geography. The places of a writing. The forces that create, traverse and lose it. The two image strips will be contiguous on the same screen. Their continuous and simultaneous operation. Two mirrors. The voices and their silences are reflected in it. Fade away.

A humorous glimpse of what happens every morning on the wavy sidewalks of Copacabana Beach. Physical fitness, Brazilian style, with a dash of soccer and hints of Carmen Miranda.

A fortuitous meeting, late one afternoon, in the garden of the Tuileries, of one or two cameras, a tape recorder, and three cameramen/directors, Raymond Depardon, Jean Rouch, and Philippe Costantini.

With a super 8 camera from Paris to Berlin, from Amsterdam to Rio, from Jerusalem to New York shooting only at night. Hungarian crooners, Indian tribal chants, opera arias, and an occasional samba make up the sound track of this “hand-held” diary.

"This is the story of a search, that of a woman in pursuit of her own identity. This woman, Marie-Noëlle Kauffmann, ventures into the world of representation, meets four characters who, each in their own way, give her a key to cross the five sequences/initiations of the film which are all benchmarks that she must absolutely cross to have an answer to the question: Can cinema help find a lost balance?" -Gerard Courant